Pamela Nkutha/Whoosha -the sound of ON Records 1987-1989

the sound of ON Records 1987-1989

South African synth-disco/bubblegum/electro-boogie

Catalog nr. Egoli 002-DISC 3

Soul Safari proudly presents a brand new release, as part of a series of 3 individual 12″ single releases. All original masters have been remastered and this limited edition is pressed on high quality dj-friendly vinyl. The vinyl and high quality downloads will be available from August 5th 2019, fully licensed. Distributed by Rush Hour

The ON label was active in South Africa between 1987-1992, an era in which the new sound of Young Black South Africa in the early 90s was defined.

The late 1980s in South Africa was an exciting time when disco mutated into what was becoming known as Bubblegum: dance music aimed at the black population of South Africa.

Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, first house, and other electronic music styles conquered South Africa as well. DIY – do it yourself – a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up – keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.

Whoosha released an album called “Mosquito” in 1987, which was produced by Julian Laxton, Ronnie Robot and the late Charles Sejeng who was the voice of the group. Two tracks of that album are featured on this compilation.

As the only female singer on this compilation Pamela Nkutha proves that her brand of bubblegum pop is never less than utterly fresh and original.

Catalog nr. Egoli 002-DISC 3

Release date; August 5th 2019, fully licensed. Distributed by Rush Hour

LISTEN TO MP3 HERE

EGOLI 002-DISC 3ARTISTTITLEtime TOTAL 
A1Whoosha Mosquito03:47 
A2Whoosha Nopaka05:1509:02
EGOLI 002 -DISC 3ARTISTTITLEtime TOTAL 
B1Pamela Nkutha Gambling04:28 
B2Pamela Nkutha Ano Tambura (Suffering)04:35   9.03

ON! YULETIDE 2018 MIX -Happy Holidays

Happy Holidays from Soul Safari 

enjoy this mix of South African synth-disco/bubblegum/electro-boogie

ON YULETIDE MIX 2018 pic 2

 

some real unknown gems of the ON label and other in-demand tunes released originally between 1987-1989 in South Africa

ON! YULETIDE 2018 MIX

Mara Dee -Phinda Mzi
Odessa Traffic -Odessa Jam
Mara Dee -Rhythms Of Life
Ninja -Koiyoko
The Bees -She’s A Witch (Thokolosi)
The Bees -Mjondolo (Bus House)
Stanza -I’m Dreaming
Pamela Nkhuta -Gambling
Mafika -Roadblock
Peter Maringa -Mama Jane
Street Kids -Dancing All Night
Mafika -Roadblock (Taxi Mix + Vocal version)
Odessa Traffic -Traffic Jam
Mercy -Sex Appeal

sticker ON records -hoes

ON -the sound of ON Records 1987-1990

South African synth-disco/bubblegum/electro-boogie

Limited Edition Triple Pack -Egoli 002

distributed by Rush Hour

This compilation ℗ + © 2018 Ubuntu Publishing license. All rights reserved

SA X-mas postzegels

see also August Mix Special! From Bubblegum 2 Kwaito

 

 

ON -the sound of ON Records 1987-1990 -South African synth-disco/bubblegum/electro-boogie

 

voorbeeld-iTunes

Soul Safari is proud to present a brand new compilation featuring some real unknown gems of the ON label released originally between 1987-1989 

The ON label was active in South Africa between 1987-1992, an era following the end of the apartheids regime and defining the new sound of Young Black South Africa in the early 90s.

The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa.

sticker ON records -hoes

Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took the UK over in 1988, first house, and other electronic music styles conquered South Africa as well. DIY – do it yourself – a motto that had already appeared in the punk movement, lifted the young local scene to the next level. With a minimal set up – keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios.

The_Bees
The Bees

The Bees are probably the most sought after group, releasing only a rare album in 1988 and a handful singles that are now highly collectible.

Themba Wawelela is a prolific South African artist/producer who is best known as ‘Little Big Man’.

Another star of the ON Record stable, Mafika Shabalala set himself apart from the rest with his lyrical skills, sung over the homegrown dance rhythms that soon gave rise to kwaito and later bubblegum.

whoosha mosquito
Whoosha

 

 

 

Whoosha released an album like Mosquito in 1987, which was produced by Julian Laxton, Ronnie Robot and the late Charles Sejeng who was the voice of the group. Two tracks by Whoosha are featured on this compilation.

 

As the only female singer on this compilation Pamela Nkutha proves that her brand of Bubblegum pop is never less than utterly fresh and original. Pamela Nkutha -gambling 12 inch

 

ON -the sound of ON Records 1987-1990

South African synth-disco/bubblegum/electro-boogie

The Bees/Little Big Man/Mafika/Pamela Nkhuta/Whoosha

Limited Edition Triple Pack -Egoli 002

release date; mid November 2018

distributed by Rush Hour

This compilation ℗ + © 2018 Ubuntu Publishing license. All rights reserved

sticker ON records -hoes

Funk Soul Brothers -part 3 – City Soul -Dazz 1977

 

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City Soul ‎– Dazz -Jo’burg Records ‎– TJC 13026 South Africa

Dazz = Disco Jazz

Dazz was originally a huge hit in 1976 for Brick, an American soul funk disco quintet.  The track was covered in 1977 by a South African studio band formed around Julian LaxtonDuku MakasiRobbie Jansen and John Galanakis.

Today’s post features the full-length versions of this rare 12″ …enjoy!

City Soul -Dazz label watermarked

City Soul -Dazz

City Soul -Funky Dunky label watermarked

City Soul -Funky Dunky

 

Best African music finds 2017 # 8 -Brenda & The Big Dudes -boogie/bubblegum 1984

one post a day for the remainder of 2017 featuring a selection of some of my best finds of African music last year…not necessary brand new releases. Mostly vintage records found during my travels all over the world.

#8 Brenda & The Big Dudes ‎– Let’s Stick Together

Family Records‎– FLY(V) 8 -South Africa 1984

brenda & the big dudes -let's stick together cover front watermarked

the early years of Bubblegum or Mapantshula Afro pop.

Legends like the late Brenda Fassie and the Big Dudes, Chicco Twala, Dan Nkosi, Ebony, Richard Makhubale of Volcano, Dan Tsahnda of Splash, Yvonne Chaka Chaka to name a few, are some of the most known South African artists in the genre. But the genre crossed borders as well, from Namibia to Zimbabwe, Bubblegum became most popular through the radio and rapidly captured the dance floor. Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took the UK over in 1988, first house, and later techno conquered the world. DIY – do it yourself – a motto that had already appeared in the punk movement, lifted the young house scene to the next level. With a minimal set up – keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios. Township disco was born, Bubblegum was the next logical step, followed by Kwaito.

read the full article August Mix Special! From Bubblegum 2 Kwaito

 

brenda & the big dudes -let's stick together label A watermarked

Gimme Gimme Your Love

Let’s Stick Together

Could We Do It?

 brenda & the big dudes -let's stick together label B watermarked

Do It Now

Can’t Stop This Feeling

I Wanna Be Single

 

Brenda & The Big Dudes

August Mix Special! From Bubblegum 2 Kwaito

the early years of Bubblegum or Mapantshula Afro pop.

Legends like the late Brenda Fassie and the Big Dudes, Chicco Twala, Dan Nkosi, Ebony, Richard Makhubale of Volcano, Dan Tsahnda of Splash, Yvonne Chaka Chaka to name a few, are some of the most known South African artists in the genre. But the genre crossed borders as well, from Namibia to Zimbabwe, Bubblegum became most popular through the radio and rapidly captured the dance floor. Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took the UK over in 1988, first house, and later techno conquered the world. DIY – do it yourself – a motto that had already appeared in the punk movement, lifted the young house scene to the next level. With a minimal set up – keyboards, some drum machines and samplers it was suddenly possible to make music without having to rent expensive studios. Township disco was born, Bubblegum was the next logical step, followed by Kwaito. Brenda & The Big Dudes

1994 -the rise of Kwaito

The early 1990s saw many changes in South Africa; these include the release of Nelson Mandela, the lifting of political, economic, cultural and sports sanctions, an agreement on a new constitution and the country’s first democratic election in 1994. These changes inevitably dramatically affected the South African music performance structures and industry. The lifting of sanctions provided South African musicians with easier access to international music and a radical revision of censorship, while the easing political situation allowed for greater freedom of expression. Freedom of expression meant that for the first time the youth of South Africa could make their voices heard. The music genre kwaito emerged during this period and represents a culmination of all these changes; it is a practical manifestation of that freedom of expression for which the youth had longed.

The origin of the word kwaito comes from the Isicamtho word amakwaitosi (which means gangster). Amakwaitosi derives from the Afrikaans ‘kwaai’, which means strict or angry. The association of kwaito with gangsters is because kwaito in itself is all about ghetto music. To kwaito musicians and their fans alike, the term simply implies that the tracks are ‘hot and kicking’. kwaito comp The subject of kwaito remains a relatively unexplored topic within the academic environment because up until recently the focuses of musicological and ethnomusicological studies in Africa have been restricted to indigenous music, as opposed to urban music.

Can kwaito be deemed an authentic South African phenomenon?

A new urban genre developed in the 1980s, an Afro-dance pop, mainly influenced by mbaqanga and African-American popular styles. Bubblegum marked a shift or a cultural turn in the content and form of South African music. This genre developed because of promising developments in the fight against Apartheid as well as the introduction in South Africa of television in 1976, which allowed for the promotion of music across all ethnic groups. It represented a move towards music that was more urban then traditional. All these factors made an enormous contribution towards the development of kwaito, which began at the pinnacle of bubblegum music and when the aprtheid era was drawing to an end

Kwaitofabulous

Kwaito instrumentals are usually made entirely of synthesised sound. The tracks are constructed using a fusion of slowed down house music tracks (normally 100 and 120 beats per minute) and African percussion, which forms the core of the rhythmic pattern. The lyrics in kwaito are normally not sung, but recited in rhythmic speech, usually in Isicamtho or any of the South Afrcian official languages. Times are changing for Kwaito and the artists constantly pursue new sounds. Artists are spending more time on the production of their albums than before and have broadened their frontiers of influence. The music is becoming more developed and complex, with artists constantly seeking new idioms and mediums of expression like adding an opera singer or live instruments that give elevated status. Kwaito draws a lot of its traits from American hip hop and house. African-Americans (the pioneers of hip-hop and house) and black South Africans both have a similar history of oppression by the whites. Thus, there are similarities present between the original American music genres and kwaito but that does not make kwaito a direct descendant of hip-hop nor house. Kwaito draws its musical influence from various sectors of the music world, including American and European music, but also from various South African music genres and makes extensive use of local African instruments, for example marimba and xylophone, Izibongo praise poetry and, most importantly, lyrics that use indigenous South African languages as an alternative for English. For these reasons, kwaito can be considered an authentic South African phenomenon.

Source: partial text from the essay ‘Kwaitofabulous’ the study of a South African urban genre by

Thokozani Mhlambi

KWAITO EP 12inch_discosleeve

Cape 2 Nassau -August Mix Special

from 99.8 bpm to 118.2 bpm

Mara Dee -Uphetehe Yiphi Patleo4U -Abobaby Mara Dee -Phinda Mzi Street Vibe -Cho-Bee Dare 2B Different -Ash Lo Baby Malume -Uxam Binghi B -African Herbsman Bongi & Mashashane Kids -No Rubber No Pencil Bongi & Mashashane Kids -Black Mampatile Mara Dee -Rhythms Of Life Tata -Afro Breakdance Street Kids -Try Me (Game Nr. 2) Blondie & Pappa -Cape 2 Nassau

 kwaito dancing